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Linn Owners Club and Forum

  1. What's new in this club
  2. Hi there, I have 5125 amp with bi-wired Ninkas in active mode. I’m using Unidisc sd right now as my CD player and preamp and I still have my 5103 preamp but not connected to system. Recently I bought Majik ds and I’m in process of ripping my CD collection. What would be my best way to connect Maijk ds to 5125? Should I use Majik ds preamp or go through Unidisk or 5103? Thanks for your input.
  3. @LTomasic Congratulations on your new system. You clearly researched your purchase, and you are probably getting sound quality that is as good as, or perhaps better than, any competing system, particularly if your listening is predominantly to classical music (as mine also is). Your system is very definitely a keeper, because, to better it noticeably, you would probably have to pay more than twice what you spent on it. And, as Pennypacker says, it is an active (Aktiv in Linn-speak) system, just with more wires than the integrated units. Exakt is, essentially, Linn's digital reworking of active technology, and allows the speakers to be controlled in many more ways, and much more accurately, than is possible with analogue crossovers. David
  4. Just to make sure... Although the amplifiers are not integrated in your speakers, you do have an active system. Also I won't say this is a first time Linn-buy. Anyway, nice system though.
  5. Hi, I started with ADSM/1 + A2200. Then added a A4200 such that the A2200 went for active bass. Then swapped all this for AEDSM and Majik Exaktbox. Managed to buy these items new and sell the other items for zero added cost and superior sound. In hindsight I should have stuck with with I had and saved for an Akurate Exaktbox. Very happy now though
  6. I am fairly new to the whole HiFi thing. I recently decided that I want to spend some money on a decent system and was very impressed with the Majik DSM with 140s (especially compared with Naim and others). I also considered the 530 active system, which I found to be considerably superior to the 140s. In the end, however, I ended up buying an Akurate System Hub, Exaktbox-I (Katalyst) and a pair of passive Akudoriks with stands. It took me a while to figure out that this was an option for first-time Linn buyers. This configuration came at pretty much the same price as an active 530 system but offers Katalyst DAC and superior speakers. My configuration was considerably cheaper than the active Akudorik system and sound-wise I don't have the impression that it is inferior to the active system, which I would have found too expensive (for me anyway). Although, to be honest, I did not spend much time comparing and do not have much experience. I am overwhelmed with the quality of the sound - for the first time I am finding the experience of listening to music at home (almost) as moving and enjoyable as in the concert hall/opera house. Most here will probably be aware of what I am talking about... Anyway, having read this thread, it seems that Linn have realised that offering my configuration does not make much sense if your primary goal is to promote active integrated systems (and make money)... It pleases me, however, that I took the offer while it was available.
  7. Hello all I wonder if I could ask for some advice, please. I have a Linn Karik (Mk 2 I think?) and a wondering how it compares with a more modern player? I’m thinking of looking at either replacing it with a more modern player (non Linn I guess - my budget is £600-ish max) or getting an up-to-date-ish external DAC (I will be asking for some guidance re. technicalities if I go down this route!) - the ultimate aim being an improved sound. I listen to jazz, rock and classical, if that’s of any use. So, should I twist or stick? Many thanks in advance for any advice or guidance. Regards Kevin
  8. I hope they introduce that in the short term. saves me a windows/apple laptop. In addition, this would be in line with developments IMHO.
  9. Although the first two points have been pretty well dealt with, I will add that Linn did indeed discontinue a successful product, most likely to simplify the line and steer people towards DSM units. In doing so the Source First company discontinued the best digital source they had ever made. They brought the DS pieces back because the dealers pestered them to do so, myself included. Point three has some validity, but only partial. I would agree that only a few purists/fanatics are still willing to set up racks of multiple amps and crossovers to have an active system. Although, to be honest, it was only ever the lunatic fringe who went to those extremes, at least, or maybe especially, in the United States. There is indeed also a trend toward simplification as witnessed by the popularity of more expensive integrated amps, and streamer/integrateds, and the waning market for separate preamps and power amps. This is also helped by the confusion caused when companies (not Linn obviously) make $15,000 and $8000 integrated amps and $4000 preamps and power amps at the same time. However, the typical modern customer who wants a simple music system is going to be much more open to a Majik DSM and a pair of conventional speakers, or an ADSM and power amp and conventional speakers than they are to a system where you actually have to run TWO wires to each speaker and go into a software program to make sure the electronics see them and know which channel is left! While the intention of Exakt was to bring a bunch of new customers to Linn through the simplicity of a "single box" system, it is now admitted that it instead appealed mostly to a thin slice of existing Linn customers. The complexity inherent in digital systems with programs for setup and frequent software updates, from both Linn and the providers of the control devices and streaming services, is not something your average neophyte is interested in. As CJ1045 mentioned, most customers find "wireless" speakers that are still wired unattractive and while we sell a few of them, none of the units we have are doing all that well regardless of how big the vendor research showed the market was going to be. The truth is that most customers don't understand the idea of active systems and aren't all that excited by it if you explain it. The advantage Linn had in the past was the relative ease with which you could go active. Get a pair of Ninkas and a Classik K and you had a really nice system, add an LK85 or 140 and passively biamp, add a second amp and crossover cards and you are active. From there upgrade to Ikemi and Kairn, then go to an Espek and you just add another amp and change the crossover cards. It made it easy to start out with a basic system and grow to a full Klimax/Keltik system over time if you so desired (and had the cash, of course). But you could make a number of relatively easily digestible steps. Now if you want an Exakt system look at coughing up about $15,000 up to $82,900 (not including a turntable). Someone who already has good level Linn sources and electronics could get a pair of passive Akudoriks for $8400 with stands. If they were sold on Exakt they could later change the stand for the Exakt electronics filled stand. Now if they want to go Akudoriks they need to plunk down $23,580 and if they don't have a unit with Exaktlink outputs they need another piece of electronics on top of that. This severely restricts the number of people with existing systems who will look to Linn for a speaker upgrade. As to the idea posted earlier that Linn are clearing the way for new passive speakers, I wouldn't hold my breath. We were told years ago that Linn planned at the time to discontinue the passive Akubariks and Akudoriks but a couple of months later they decided to hold off on that decision, now it is here. At the same time they also informed us that they planned to do no further R&D on passive speakers. So far they have certainly kept their word. Finally, are we dinosaurs? Likely, but there are many reasons for that from the onslaught of CDs, to iTunes, to spotify, to the ridiculous proliferation of ever more expensive gear chasing after the 1% of the people with all the money thereby promoting the idea that Hi-Fi is a rich man's game. It also doesn't help having way too many companies making stuff they don't understand (A McIntosh or Levinson or Burmester turntable? Really? Because they know so much about electromechanical devices?) and all the stuff they will make in China for you and put any name on it you want. However, the resurgence of vinyl as the premier method for distribution of music and the welcome of it by the younger generations gives me hope that we can raise up enough baby dinosaurs to keep the business going for a while longer yet. But I wouldn't mind, nor would I be surprised if there wasn't some thinning out of the ranks over time. Those who will survive will do so by giving the customer what they want, not what they think they should want, or what the interior designers think they want. Now I have to go help a young man in his 20s with the LP12 turntable he just brought in for me to go over.
  10. We often see requests on here to source Kaber drivers - Linn don't provide them and they don't come up very often. But there are some on ebay now, perhaps giving some an opportunity to stock a spare or 2. I have no link to the seller. Mods - please delete the post if inappropriate. https://www.ebay.co.uk/itm/123971025134?ul_noapp=true
  11. I am targeting the second-hand market anyway so my only worry now is that this phase-out business does not make 3k speaker owners clinging longer to their speakers. I would not say that there is any real problem with 109 in the Exakt configuration. They present very believable music with lots of fine details and can be listen for long hours with head nodding and toe-tapping, and now with SOv2 it is even better. 3k array speakers are good to have upgrade possibility for improvement and of course to keep the hobby alive. If Linn will concentrate only on integrated speakers in the future I think many of us will be in a very difficult situation to follow. This kind of substantial financing at once is for sure available to a smaller number of audio enthusiasts and would deny lots of people for the possibility of building a great audio system through several years upgrade path.
  12. There are basically two possibilities now that you have eliminated the belt (which isn't really suspect as it wouldn't make a knocking noise but more of a scraping as it goes to the bottom of the pulley on startup). These would be the suspension and the motor bearing cap. The motor itself is very likely to be fine as they almost never die unless improperly installed. But Valhalla LP12s had an extra cap fitted to the bottom of the motor with a spring and a bearing surface to push the motor spindle up and reduce low level motor noise. Sometimes those can cause a ticking sound but it is usually constant - not just on startup. If it were the problem that cap can be repositioned or even removed, as it is when a Lingo is installed, and the motor will still run fine. So the suspension is definitely the likely culprit. The springs slide slightly up and down on the upper grommet and the interface is a pretty close fit. Sometimes the spring will grab on the grommet and make a ticking sound. Most people don't think it is suspension as it sounds much like a metal on metal sound but it is most often a spring and grommet. With a Valhalla or Hercules it is not uncommon for the belt to pull on the suspension on startup and then settle down after a few revolutions when the belt has centered itself on the pulley and the platter is up to speed. If there is a knock in one or more spring/grommet combinations this can be aggravated by the startup. I believe this is what is happening in your case. To check for this turn the motor off and put the arm in the rest. Make sure the LP12 is level first or it will throw the suspension off. Measure with a proper level on the platter with the mat off and also on the front center and sides of the plinth - all three should read very close to the same, if not exactly the same. Then tap the platter lightly (you don't need a big bounce) on a line between the spindle and the center of the bearings of the arm (basically where the arm is mounted) at about where the edge of the record label or the end groove would be. This is approximately the center of gravity of the LP12 and it should give you a straight up and down bounce with no rocking side to side and no twisting motion of the armboard. If you are not getting a true pistonic bounce with the LP12 level then the turntable is not setup quite correctly. If you do get a pistonic bounce but you hear the ticking noise it is one or more of the springs. You can sometimes isolate which spring by tapping the platter closer to the other springs but it is difficult to be sure without access to the bottom. I have had a couple of cases where the ticking is not that loud and I needed to break out my stethoscope to locate the right spring(s). Whether this is a real problem depends on how significant the ticking is and how much suspension movement is necessary to excite it. You can get carried away in trying to eliminate the ticking with a big bounce that will never occur when actually using the turntable. If it ticks with a significant bounce but goes away when the suspension is still bouncing with small motions it is not going to change the sound of the LP12, whereas if it is audible all the way down to no suspension movement then it definitely needs to be dealt with. On the other hand if you find it annoying that it does this at startup it can certainly be taken care of but it requires somebody who knows their way around an LP12 suspension. I have an LP12 on the bench right now that I rebuilt the failed Valhalla on and is also getting an Adikt, new belt, new felt mat, Trampolin 2 and a full setup. After testing the Ittok LVII arm, mounting the cartridge and precisely torquing all the fasteners I tested the suspension and found it to bounce pretty well but to have that ticking sound. Although this is most often on the right rear spring, which carries more weight than the two others and is more compressed, in this case it was the left side spring which carries the least weight. Twisting the entire spring and grommet assembly 180° got rid of the ticking, even at substantial suspension excursions, and made the turntable bounce even better. So sometimes all that is needed is to adjust the springs although this can be a bit tricky as turning a spring can make the bounce better or it can make it a lot of worse - part of the art of setting up an LP12 is getting the movement of the springs balanced so you get that pistonic bounce. At other times you need to replace one or more springs and grommets to get the desired result. I highly recommend against mixing springs/grommets of different vintages (Linn has changed the springs at least 7 times by my reckoning and the grommets a few times too) so unless the LP12 already has the newest springs on it I would replace all three springs and six grommets. But just replacing them doesn't assure all will be well. Springs vary a little one to the next and even a new Majik LP12 from the factory may need a spring or two replaced to get the LP12 to bounce properly. In my experience most LP12s are relatively straightforward to get the suspension working right but some just want to fight you. Interestingly I have found LP12s with Keels can be the most difficult, more so with an Ekos SE which is the heaviest Linn arm. I have occasionally gone through six or more springs, and possibly as many grommets, to get the suspension right on a particularly difficult LP12. I keep about two dozen each of springs and top and bottom grommets on hand so that I can be sure to get a set that works right, part of which is testing by hand first which springs grab on which grommets. So your issue is almost assuredly a spring/grommet combination. If it only happens upon startup you have to decide whether it is annoying enough to have it looked at.
  13. I agree. SO is disabled on the headphone output. If Linn have thought about that, they will have thought about balance too. At the very least, they would reason that a bance setting applicable to the speakers would tend not to apply to headphones. David
  14. Yes, it does (or at least it does for my KEDSM and Kiko). On the General tab of the Linn Music Systems window (the one you get from "Manage Systems" after logging in), there is a '>' next to the network player name. Click on that, and you get the device serial number. MAC address. board list and software (Davaar) version, but, oddly, not the IP address, which is shown in Konfig. David
  15. I cannot imagine that it is a bug, IMHO balance control has zero added value for headphones.
  16. just tried and its not that unfortunately. cheers Tom
  17. Not that I can see currently, although I’ve always gone for beta updates in Konfig, so would never have an update to see in the Linn account. I’m assuming it will be introduced eventually. Just had a look, especially at my son’s Sneaky DS which I know I haven’t updated in a while, and it doesn’t even tell you which Davaar version a DS is running. ’troll
  18. You can sometimes hear the belt ride up and scrape the top of the belt guide on startup, that’s nothing to worry about if it’s that, but the fact that you can hear it when bouncing the suspension makes me think it’s spring out grommet (bushing) related. You can always check the belt guide thing, by fitting the outer platter upside down and then observing how the belt moves on startup. ’troll
  19. Thanks troll, yes it wobbles a bit at start up but this is accompanied by the noise. The knocking ceases when full RPM has been reached then quiet form there on. cheers Tom
  20. Excuse the ignorance Tendaberry but what do you mean by cable dressing. My tech disassembled the first time i took it up and there was a cable snagged somewhere and it was pulling the armboard out of level and this probably caused the knocking. I think something similar has happened when transporting back home in the car as it sounded ok in this workshop.
  21. as mentioned the motor may need replacing but that wont be until early next year so ill keep an eye (or ear) on the frequency of the noise to see if it does become absent. cheers Tom
  22. It's also worth knowing, that newer Solos sound better than older ones (even if both have Dynamik). I cannot tell, if this is due to components inside aging, or that Linn has improved some of the components over time.
  23. Thanks Hans, Ummm....maybe I’ll send an email to Linn about this...
  24. My first thought was suspension bushing, either not seated perfectly into the subchassis or spring rubbing against it until the deck settles down. The suspension will “wobble” a little bit on start up, but shouldn’t be noisy - how long does this knocking last? If all the time, then it’s not right. ’troll